#death-doom-metal — Public Fediverse posts

#BienAventuradasSeanVuesasMercedes:

Grupo: #KrishnaSCult
Nacionalidad: #Canada
Género: #Metal #Punk
Estilo: #DissonantDeathMetal #DeathDoomMetal #Grindcore
Enlace: krishnascult.bandcamp.com/album/whispe...

Whispers In The Dark, by Krish...

Classic Aussie Death Doom Metal. Nothing quite like disEMBOWELMENT, a one of a kind.

Legendary.
#nowplaying #deathdoommetal #deathmetal
🤘

Inventtor lança novo álbum, ‘Senhor da Obsessão’, e clipe de ‘Broken’ https://radio-b-c-underground.com.br/inventtor-lanca-novo-album-senhor-da-obsessao-e-clipe-de-broken/
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#Inventtor #SenhorDaObsessão #Broken #DeathDoom #DeathDoomMetal #DoomMetal #DeathMetal #MetalBrasileiro #HeavyMetal #ExtremeMetal #UndergroundMetal #NovoÁlbum #NovoClipe #Lançamento #RockNacional #CenaUnderground #Headbanger #MetalHeads #RadioBCUnderground

#NowPlaying #Umbersound

I’m really curious what @Umbersound created 🤘🏻

https://musiccloud.io/ZjjsM

#bandsofmastodon #doommetal #deathdoommetal

Sonus Mortis – Synapse The Hivemind
#IrishMetal #Metal #SymphonicDeathMetal #darkmetal #deathdoommetal #irishmetal #melodicdeathmetal #metal #symphonicdeathmetal #Dublin
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://sonusmortis.bandcamp.com/album/synapse-the-hivemind

Steel Druhm can never get enough rancid, rotten death. That’s probably why I had a large-capacity rotpit installed on my property, and why I maintain front-row seats at the local autopsy theater. Thus, I welcome what Canada’s Coprolith bring to the charnel house on their Putrescence debut. This is scuzzy, lo-fi, low-I.Q. death for the creeps who worship the vomitorious sounds of Autopsy, Grave, Incantation, and older acts like massively underappreciated Finnish maniacs Demigod.1 Taking many crucial cues from early Autopsy, Coprolith blend harrowing doom with blistering OSDM, and everything feels filthy, infectious, and corrupted. It’s a moldy oldy recipe, but in the hands of some truly sick twists, it can still fuck up your shit, as it does here.

You won’t spend much time wondering where Putrescence is heading either. Opener “Sentenced to the Grave” rips the band-aid off, along with a good portion of healthy flesh, as it brings a teeming, writhing mass of moist and gruesome death metal to life. Melding mid-tempo caveman grinding segments that feel massive and unstoppable with doomy plods that crush your will to thrive, this is like a leaden dead weight on your puny shoulders, but there’s a vibrancy and energy to it even when things are stuck in the meat mulch. Some well-timed upticks of speed with blastbeats and cement-mixer riffs keep you alert and following the funeral program. Add some utterly inhuman, reverb-heavy death croaks and vomit noises, and you’re in the grave business! I especially enjoy the eerie harmonies on the song’s back end. The title track is more of the same, informed by gruelingly meatheaded grooves and ponderous doom marching. The guitars offer just enough variety to keep things interesting, spiked by rabid flare-ups of aural violence.

The album centerpiece is the 7-minute “Defiling Incantation,” which Coprolith certainly do with gusto. It’s a lumbering, unwieldy piece of death-doom that recalls the best moments of Incantation and Winter without copying them, and there’s a dark, sludgy, blackened edge to everything that feels evil and unsettling. How do you follow something like that? With a hyper-aggressive piece of scummy, molten death that could have been on Post Mortem’s classic Coroner’s Office release. “Birthed by Remorseless Flames” packs top-notch Neanderthal power chugs and keeps things heavy enough to liquefy and evacuate the contents of your bowels. This is one of my favorite death ditties of 2026 because it feels olde, bold, and heavy like a two-ton anvil dipped in shit, duck fat, and motor oil. I don’t even care that it almost hits the 6-minute mark because it’s just so greasy and unappetizing. At a skinny 34 minutes, every track is morbidly a beast. Bloat is carefully avoided through well-timed tempo shifts, and even the longer cuts avoid feeling too long. The production is deranged genius, essentially recreating the horrific sound of Autopsy classics like Severed Survival and Acts of the Unspeakable. It’s grimy, smutty shit-muck, but damn does it hit the feelz bone with a 10 lb. sledge. There’s enough filth-gunk in the sound to please any hardcore death metal elitist, and you can still hear what the band is actually doing!

Guitarists A.K. and J.H. throw all manner of vile, befouled riffs at you, all with teeth that go for the nether-regions. The doomy leads are nigh-irresistible and will plant you in the earth like a flag pole. The urgent, in-your-face riffage feels jagged, ragged, and dripping with tetanus ichor. This sounds old as fook, but just as toxic as anything new-fangled being released today. To this nightmare sauce, add the obscene croaks, moans, and wretches of K.D., who seems to be broadcasting from some Lovecraftian dimension you want no part of. These unholy vocals add a whole layer of poo-crust to the already appallingly impure sound. Bassist A.M. delivers a lot of mass and heft to the sound profile, coming forward at times to shake your bladder batter into stiff peaks. All this is undergirded by the reliably massive drumming of A.M., who knows when to pound you into assdust and when to oppress your brain jelly. This crew knows what they’re about and how to harsh your mellows.

Coprolith have the rotten stuff, and they fling it all over the place. Putrescence is a nasty piece of soiled work and a loving tribute to the kings of death and death-doom. If you want to marinate in the medical waste barrel, this is the slurry to soak in. It will give you a loathsome disease, but you’ll enjoy the entire incubation period. That, my friends, is what good death metal can do for you/to you! GAG!

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Me Saco Un Ojo / Rotted Life
Websites: coprolith.bandcamp.com | instagram.com/coprolithdeath
Releases Worldwide: July 3rd, 2026

Recensioni ✍️

👤 Fires In The Distance 📈 34 👥 20K
🔗 Circadian Promise 8️⃣
📅 12-6-2026
🏠 2026 (Prosthetic)
#️⃣ Deathdoommetal Gothicmetal

Con i suoi elementi gotici e tardo-romantici, il death-doom metal della formazione [...]

a cura di Michele Corrado

#Ondarock #MusicianSky #MusicSky #Music

Circadian Promise - Album by F...

TORT – Dimonis de la Sauva Negra
#Barcelona #Deathdoommetal #Doom #Metal #Sludge #Spain #Stoner #deathdoom #deathdoommetal #deathdoom
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://discosmacarras.bandcamp.com/album/dimonis-de-la-sauva-negra

Listening to one of my favourite bands (yes, I know I have many favourites) Skepticism while dinner slow cooks and I sip on an excellent ice cold stout.

#nowplaying #beer #finland #deathdoommetal
🤘 🍺 🇫🇮

Draconian + Emma Ruth Rundle en Sala Metrónomo: Entre lo angelical y demoníaco | vía #ZumbidoCL

https://zumbido.cl/draconian-emma-ruth-rundle-en-sala-metronomo-entre-lo-angelical-y-demoniaco/

#deathdoommetal #draconian #emmaruthrundle #livereview #metalgótico #monkeychile #salametrónomo

Draconian – «In Somnolent Ruin»: Protegiendo sus virtudes | vía #ZumbidoCL

https://zumbido.cl/draconian-in-somnolent-ruin-protegiendo-sus-virtudes/

#albumreview #deathdoommetal #draconian #insomnolentruin #metalgótico

Heavenwood - The High Priestess [Gothic Metal, Death Doom Metal] [2016]

Draconian en Chile: El aura de hechizar | vía #ZumbidoCL

https://zumbido.cl/draconian-en-chile-el-aura-de-hechizar/

#deathdoommetal #draconian #metalgótico #monkeychile #salametrónomo

Mammon's Throne – Skies of Flame
#BlackMetal #DeathMetal #Doommetal #Metal #blackeneddoom #deathdoom #deathdoommetal #doom #doommetal #melodicdoommetal #stonerdoom #Melbourne
CC BY-ND (#CreativeCommons Attribution No Derivatives) #ccmusic
https://mammonsthrone.bandcamp.com/album/skies-of-flame

Once I start listening to death doom, I can't get away from it so quickly.

Now Décembre Noir from Germany
https://album.link/b/1900347515

#deathdoommetal #decembernoir #nowplaying

https://www.europesays.com/nl/132066/ Marianas Rest – The Bereaved #2026 #Amusement #DeathDoomMetal #DeathMetal #DoomMetal #Dutch #Entertainment #finland #MarianasRest #MelodicDeath #MelodicDoom #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #NobelDemon #recensie #TheBereaved #ZwareMetalen

Atlases - Centralis [Post-Metal, Death Doom Metal] [2019]

Altars of Grief - Voices of Winter [Death Doom Metal] [2018]

0N0 - Reconstruction and Synthesis [Death Doom Metal] [2016]

Hipoxia – Fragmented Revelations
#BlackDoomMetal #Doommetal #Metal #blackdoommetal #deathdoommetal #doomdronemetal #dronedoom #dronedoommetal #industrialdoommetal #Madrid
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://hipoxia.bandcamp.com/album/fragmented-revelations

Clairvoyance – Chasm of Immurement Review

By Maddog

Yes, I picked this up entirely because of its cover. Girardi’s gorgeous spiral of tombstones and skeletons conjures vintage highbrow death metal of the likes of Death. The title Chasm of Immurement grasps at brutal badassery in the vein of Suffocation’s Effigy of the Forgotten. Clairvoyance’s logo remains indecipherable even if you know the band’s name, suggesting kvltness galore. The promo materials describe lyrics that address the isolating effects of depression, foreshadowing a harrowing listen. In isolation, each of these judgments strikes at the truth but glances off. Chasm of Immurement is the debut album from Poland’s Clairvoyance, an unknown band comprising unknown musicians. Lying at the intersection of brainless death-doom and brainiac digressions, Chasm of Immurement is a powerful foray into death metal.

A first pass through Chasm of Immurement suggests primitive death metal with a dollop of doom. “Eternal Blaze” opens the album with a bang that recalls Faceless Burial’s Speciation. After grabbing me by the anus, Clairvoyance maintains its hold by alternating between mid-range Obituary riffs and lurching Autopsy-style death-doom. These lowbrow highlights feel both as slimy and evolved as an amoeba. With both its riffs and its guitar tone, Chasm of Immurement leaves a palpable layer of grime that justifies multiple colonoscopies. “Blood Divine” emerges as a late gem through riffs that are gory enough to draw blood and enormous enough to evoke Immolation. This isn’t isolated to a subset of the tracks; throughout its runtime, Chasm of Immurement alternates between a sixteen-wheeler and a used minivan without dulling its fun.

On your fifth listen, Clairvoyance’s experimental bent comes into view. The same doomy riffs you’d heard before reveal spooky foreground melodies (“Reign of Silence”). The same track that you’d interpreted as a caveman ditty blossoms in baffling melodic directions in its second half (“Eternal Blaze”). The same song that introduced itself as by-the-books death metal culminates in a monstrous doomy climax (“Fleshmachine”). The same sections that you’d dismissed as repetitive transform into home bases for grimy excursions, interfering with your sleep schedule and your family obligations. Adorning hefty riffs with sinister melodies, Clairvoyance recalls both Lovecraft’s Azathoth and Morbid Angel’s Trey Azagthoth. It took me a while to realize that I was doing Chasm of Immurement an injustice by pigeonholing it into old-school death metal. It is indeed that, but it’s so much more.

Clairvoyance’s varying ambitions both empower and dilute each other. Spanning 34 minutes across 6 tracks, Chasm of Immurement is a concise collection of lengthy tracks. Some of its pieces wander, especially at their simplest. For instance, despite being the second shortest track, “Blood Divine” feels lengthy because of its dearth of creative ideas. Similarly, the shortest song, “Eternal Blaze,” suffers from riffwork that’s decent but unimaginative, before eventually redeeming itself with more variety. Even so, these flubs are rare. The six-minute “Hymn of the Befouled” is the starkest counterexample, balancing length with girth by combining a vicious off-kilter main riff with melodic escapades that hold me rapt. Parts of Chasm of Immurement could do a better job of remaining engaging, but it’s hardly a fatal flaw.

Balancing thoughtful death metal and anti-intellectual death-doom, Clairvoyance’s debut is as weird as it is powerful. Neanderthals who need their fix should look here, as Chasm of Immurement’s crushing death metal riffs rival the best of old-school death metal. Conversely, fans of Morbid Angel’s wonkiness or Tomb Mold’s shapeshifting shenanigans will find just as much to love here. Chasm of Immurement is unlikely to dethrone Faithxtractor’s Loathing and the Noose atop my 2025 death metal ranking, as its occasional meandering loses my interest. But it’s a promising debut from a crew of talented Polish fiends.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Carbonized Records
Websites: carbonizedrecords.bandcamp.com | facebook.com/clairvoyancedeathmetal
Releases Worldwide: July 18th, 2025

#2025 #35 #Autopsy #BrutalDeath #BrutalDeathMetal #CarbonizedRecords #ChasmOfImmurement #Clairvoyance #Death #DeathDoom #DeathMetal #DeathDoomMetal #FacelessBurial #Immolation #Jul25 #MorbidAngel #Obituary #PolishMetal #ProgDeath #ProgressiveDeath #ProgressiveDeathMetal #Review #Reviews #Suffocation #TombMold

The Bleak Picture – Shades of Life Review

By Maddog

It’s been a draining year. Lacking the mental energy for new music, I’ve subsisted on a diet of ISIS and Fvneral Fvkk. Clouded by the doomy stylings of the latter, I decided to make my return to reviewing with dismal death-doom. Despite releasing their debut just last year, Finland’s The Bleak Picture is a project of members of Autumnfall. That said, these two bands sound worlds apart, as their names betray. Abandoning the blackened scenery of Autumnfall, The Bleak Picture paints a bleak picture with melodic death-doom that reeks of Finland. Channeling the icons of sadboi history, Shades of Life is a flawed but worthwhile slab of morose doom.

You won’t find much innovation here, but The Bleak Picture has learned from the best. Blending harsh vocals and spoken word, doomy plains and deathy mountain ranges, Shades of Life consists of familiar elements. The opener “Plagued by Sorrow” offers the listener zero seconds of respite before launching into a persistent doom riff. Melodic guitar leads steer the album along, stitching the doomy cuts together in a manner that recalls Enshine (“Without the I”). Rather than slowing to a standstill, The Bleak Picture uses Insomnium riffs to push the album along without diluting its sorrow. The guitars (handled by Jussi Hänninen, along with the other instruments) are the core of Shades of Life, but Tero Ruohonen’s vocals broaden its horizons. While he largely dwells in standard harsh territory, Ruohonen’s cleans tinge the album with gothic influences, like the distorted spoken word of “Absolution.” Indeed, sections like the straightforward rock of “Without the I” recall Paradise Lost. However, lest this lengthy description fool you, Shades of Life is largely standard fare.

It feels criminal to listen to Shades of Life on a 90-degree summer day. The Bleak Picture conveys emotion through the sheer enormity of their riffs, burying the listener like an avalanche (“Absolution”). Elsewhere, Shades of Life deftly intersperses these assaults with tranquility, like the transition from an explosive chorus to minimalist bass-led instrumentals on “Plagued by Sorrow.” These strengths reach their apex on the 11-minute spectacle “Silent Exit.” Evoking Swallow the Sun’s Plague of Butterflies, the track progresses through a nightmarish acoustic melody, forceful doom riffs, and girthy bass lines. Cult of Luna-style drumming leads the song into a climactic ending that raises the bar even further. Across these highlights, The Bleak Picture’s sophomore release boasts a mature approach to songwriting.

Shades of Life still struggles to transcend its melodic death-doom formula. The album’s biggest weakness is its monotony. In their quest for chunky riffs, The Bleak Picture tends to overuse ideas, emulating an uninspired version of Rapture (“Code of Ethics”). Even the album’s best pieces sometimes fizzle out, like the abrupt ending of the otherwise-powerful “Absolution.” Similarly, while the penultimate track “Silent Exit” showcases the best of Shades of Life, the closer “City of Ghosts” settles into a low-energy doom routine that never picks up steam. Despite its apparent variety of influences, The Bleak Picture’s by-the-book approach to death-doom doesn’t always keep my interest.

An album like Shades of Life is difficult to dissect; its success hinges on the heart, not the brain. The Bleak Picture is on the right path, and tracks like “Silent Exit” hit hard with their bulky riffwork and creative variety. But as a whole, Shades of Life isn’t the gut punch I’d hoped for. It doesn’t match the raw power of Paradise Lost, the otherworldly sadness of Enshine, or the narrative prowess of Insomnium. Still, I have no regrets. There are strong whiffs of talent here, and with its mature and tempered approach to songwriting, Shades of Life is an easy, rewarding listen. It’s worth a shot for anyone who prefers moping over sunlight.

Rating: 2.5/5.0
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music
Websites: thebleakpicture.bandcamp.com | facebook.com/thebleakpicture
Releases Worldwide: June 27th, 2025

#25 #2025 #ArduaMusic #Autumnfall #CultOfLuna #DeathDoom #DeathMetal #DeathDoomMetal #DoomDeath #DoomDeathMetal #DoomMetal #Enshine #FinnishMetal #Gothic #GothicDoom #GothicMetal #GothicRock #Insomnium #Jun25 #Melodeath #MelodeathMetal #MelodicDeathDoom #MelodicDeathMetal #ParadiseLost #Rapture #Review #Reviews #ShadesOfLife #SwallowTheSun #TheBleakPicture

Oh, hi! I didn't see you there 🙂... must have been this COMPLETELY UNHINGED AND DISGUSTING #DEATHDOOMMETAL from some miasmatic Italian swamp distracting me from your presence. I'm sorry. Have a beautiful #ThursDeath. And don't mind the creepy crawlies trying to burrow into you 🦟🪳🕷️🪰... it's bugs as well as a feature ->

Bandcamp link to the Larvae album "Arousal Of The Crawling Creature" -> https://larvae-gore.bandcamp.com/album/arousal-of-the-crawling-creature

Ritual Ascension – Profanation of the Adamic Covenant Review

By Dear Hollow

Profanation of the Adamic Covenant represents catacombs dripping with putridity and filth, the blasphemy called against the heavens from far below ground. It’s an upheaval from beneath our feet, the crawling and coagulant rot that spreads from abyss to abyss. The filth and blood clots our eyes, hearts, and minds, driving us deeper and deeper into the madness until our lungs are filled with mud. Ritual Ascension is transcendence and enlightenment achieved through the reveling and swallowing of the grime-soaked entrails through a vicious and ancient ritual, the lumbering deity whose mammoth footfalls and cloud of plague require payment in full. It’s a ritual to the god of the mud and disease, and a fist slammed into the underside of heaven.

Death/doom has many heads, but the one Ritual Ascension rears may be the ugliest. The Denver collective, alongside sharing all three members with Aberration, is comprised of members of Suffering Hour, Void Rot, Feral Light, and Annihilation Cult, promising a psychedelic affair inspired just as much by the classic death/doom acts of yore as the more experimental devastators. You’ll certainly find homages to Incantation, diSEMBOWELMENT, and Winter in its ten-ton doom hammers, but atop it is an opaque and occult breed of dissonant insanity reminiscent of Portal and a palpable filth only touched by the likes of Stenched or Rotpit, only kept in the realm of humanity by a palpable groove that reminds me of Ataraxie. Ritual Ascension offers the depths in ways few can, a collective far greater than the sum of its parts.

Crawling, slimy chaos is one hell of a first impression. Overload of down-tuned and filthy tremolo guide mammoth processions, whose dissonant constructions and atonal dirges provide a hypnotic otherworldliness. As displayed lumbering out of the gates, its attack is slimy, slow, and devastating, ultimately a feeling or a place rather than a collection of highlights – as any good doom album ought to be. From the subtle and simple chord progressions that dominate more minimalist pieces (“Womb Exegesis”) to the groovy and monolithic chugs that grace the climaxes of lengthy runtimes (“Pillars of Antecedence,” “Cursed Adamic Tongues”), interspersed by passages of blastbeats ranging from blazing to contemplative. DH’s vocals are a crucial element to the album’s subterranean and blasphemous atmosphere, ranging from the commanding chthonic bellows you expect from this breed of devastation to the tortured howls and groans more indicative of black metal.

If the first half of Profanation is subtle and crawling, then the second exists as utterly filthy slow-motion violence. I was initially disappointed that the Portal-isms were not as handily felt among the tracks of the first half, only gleaming in sporadic moments and within traditionally ominous diminished chord progressions. However, crossing into the second half with the scalding “Consummation Rites” and “Kolob (At the Throne of Elohim),” caustic slow-motion Ulcerate leads collide with the filthiest riffs Impetuous Ritual could muster, with DH’s most charismatic performances of the album. Unhinged and cutthroat are not words typically associated with doom, but the layers of overwhelm and dissonance meet the criteria with a bloodthirstiness and underlying craving for brutality. Looking back, it would have been relatively easy to incorporate the dissonant intensity in the first couple of tracks, but their later full fruition after a crawling crescendo makes them feel even more painful and overwhelming.

Even though the dissonance was not as immediate as I anticipated and the necessity for the patience required for this kind of beast goes without saying for its atmosphere – rather than a collection of songs – Profanation of the Adamic Covenant is transcendent. Encapsulating that crawling dread and ritualistic weight, monolithic groove, and dissonant layers in a tidy forty-eight minutes and held together by the dedication to unholy filth, it offers bounties aplenty for those willing to wade through the offal and mire. Bolstered by impressive performances in unpredictable percussion, riffs both mammoth and caustic, and vocals tortured and menacing, Ritual Ascension offers one hell of a debut. Get swallowed by the filth.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Sentient Ruin Laboratories
Website: instagram.com/ritualascension
Releases Worldwide: February 28th, 2025

#2025 #40 #Aberration #AmericanMetal #AnnihilationCult #Ataraxie #AvantGardeMetal #DeathDoomMetal #diSEMBOWELMENT #DissonantDeathMetal #Feb25 #FeralLight #ImpetuousRitual #Incantation #OldSchoolDeathMetal #Portal #ProfanationOfTheAdamicCovenant #Review #Reviews #RitualAscension #Rotpit #SentientRuinLaboratories #Stenched #SufferingHour #Ulcerate #VoidRot #Winter

Act of Impalement – Profane Altar Review

By Dear Hollow

Nashville trio Act of Impalement’s sophomore release Infernal Ordinance, in spite of the low-hanging HOA jokes, was badass. Its unfuckwithable blend of death and crust styles led to a sore neck from endless headbanging, while its passages of doom tempos and thick weight did the sludge and doom influences justice. I still spin the likes of “Summoning the Final Conflagration” and “Erased,” reliving that pummeling that hurts so good again and again. You can imagine how excited I was, then, to discover Act of Impalement has a new album.

To accurately sum up Act of Impalement’s musical arsenal is an exercise in futility, and Profane Altar amps the obscurity – although the trademark groove remains stalwart. While Ethan Rock remains the band’s pivot point as primary songwriter, vocalist, and guitarist, a revamped lineup replacing bassist Jimmy Grogan and longtime drummer Zack Ledbetter emerges with its own streamlined take. As such, while Infernal Ordinance felt almost entirely like the one-man Ethan Rock show, Profane Altar finds bassist Jerry Garner adding more rumbling weight to the riffs while drummer Aaron Hortman brings a newfound manic energy and mania to the rhythms. While the influences remain the same in death metal royalty Bolt Thrower, Incantation, Entombed, and Asphyx – and the sound is deceptively straightforward – the streamlined approach, more pronounced black metal influence, and filthier riffs offer new planes for Act of Impalement.

Act of Impalement’s biggest change is a more cohesive fusing of its sludge and death metal influences alongside its newfound obscure black metal bleakness. While opener “Summoning the Final Conflagration” from its predecessor set a precedent of buzzsaw riffs driven to a sludgy end, Profane Altar opens with “Apparition” – while the groove and riffs are similar, they are absolutely suffocating, a swampy tar filling every crevice of the sound. Act of Impalement is down with the thickness, and it grants them a fluidity that kept the disjointedness of its predecessor from truly soaring. From ten-ton bruisers dripping with patient swagger (“Apparition,” “Final Sacrifice”), filthy 6/8 death metal waltzes (“Sanguine Rites,” “Gnashing Teeth”) to vicious crust punk-influenced black metal beatdowns laden with blastbeats and shred (“Piercing the Heavens,” “Deities of the Weak”), their potentially disconnected collection of blasting and bruising is blessedly woven together by its all-consuming weight.

Brevity is the name of Act of Impalement’s game, and it no longer feels like a one-man show. No track exceeds five minutes for a total of thirty-one minutes, which is absolutely reasonable and almost necessary for this breed of intensity. While the professed styles don’t feel particularly unique, Act of Impalement manages to lay them atop the incredibly sturdy foundation of groove, which serves the brevity extremely well – the album hits hard and fast and never overstays its welcome. Better still, Garner’s bass shines throughout and Hortman’s percussion feels both unhinged in its blastbeats and steadfastly reliable in its plodding groove – both members shining alongside Rock’s riffs and hellish roars. That being said, Act of Impalement offers a brutal riff-fest with elements borrowed from death, death/doom, crust punk, and black metal, a tribute to the hallowed halls of metal history – but the product is remarkably straightforward in its punishing groove.

If you’re looking for a nuanced album that showcases a rich and layered approach to its songwriting, Profane Altar is not for you. However, if you’re okay seeing all its influences as riders of the one-trick pony called groove, it doesn’t get much better than Act of Impalement’s breed of pummeling. Profane Altar is fucking heavy, simultaneously a more in-your-face and obscure release for a band renowned for their breakneck intensity. Balance and the bravery to embrace its disparate blend of influences sets it apart from its already formidable predecessor, even though the shortsighted groove makes it blackened, deathened, crusty, doomy ear candy. Infectiously groovy ear candy.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Caligari Records
Websites: instagram.com/actofimpalement | facebook.com/ActOfImpalement
Releases Worldwide: February 28th, 2025

#2025 #35 #ActOfImpalement #AmericanMetal #Asphyx #BlackMetal #BlackenedDeathMetal #BoltThrower #CaligariRecords #CrustPunk #DeathMetal #DeathDoomMetal #DoomMetal #Entombed #Feb25 #Incantation #ProfaneAltar #Review #Reviews

Norilsk – Antipole Review

By Thus Spoke

By quirk of circumstance, Antipole is the third French-language album I’ve reviewed in a row. Norilsk break the trend in one way, however, as they are Quebecois, not French. Antipole is also not a debut (as my other 2025 subjects have been); far from it, Norilsk being a fairly established name in the Canadian death/doom sphere. With an approach that broadly leans towards the grit and grime of the two genres—rather than the grandiosity or beautification of either—but a tendency to flirt with post, they have garnered appreciation as solid riff-deliverers who can still keep things a little interesting. As its name might suggest, Antipole is a study of opposites, with the promo sheet highlighting the dualities Norilsk explore both conceptually and literally through the music’s evolutions. Such polarities are, in fact, key.

If not granted much attention, Antipole is serviceable doom-y death; deviations from the template rare enough to be forgettable. But it was when my listens moved from passive to active that problems began to emerge. Under a camouflage of unremarkability—a problem in itself—the true colors make themselves plain if you really look. Most melodies become frustrating in their wasted potential; most riffs lack presence; the overuse of essentially spoken-word delivery of the growled vocals gets ever more grating. But the greatest issue, encompassing all others, is that the compositions feel flimsy whereas they ought to feel hefty—instrumental and vocal elements not harnessed to their full potential, and highs dropped in without justifying set-up. Duality is one thing, but disjointedness is another, and it is the former that characterizes Antipole. But it is not a dynamic kind of disjointed—such as one might find in overambitious technical extreme metal—but quite the opposite: an apathetic lack of follow-through that’s insidiously vague, but ultimately brings the above problems into even sharper relief.

Norlisk severely underuse key building blocks of both doom and death.1 Rather than harnessing song lengths to execute builds and releases, to hint, deliver, and reprise refrains, they often repeat empty phrases (“Antipole,” “La chute du géant”), and simply switch into unearned flourishes (“Locus Sanctus,” “La fonte”), or discard a melody for stripped-back flatness (“Nunataks,” “Un chant pour les morts”). Instead of complimenting weighty riffs with soaring themes, or doubling down in grimy dissonance, (most) melodies are thin, barely develop, and carry about as much emotion as a bank statement. The emphasis on spoken word and approximately spoken or whispered delivery for harsh vocals gives much of the music a disinterested, placid effect, while the instances of more aggressive barking come across as put-on if not passable—though they are soon supplanted by the dominating whisper-growl anyway. Individual pieces—a groove here (“D’ombre et de glace (l’asphysxie)”), a riff there (“Nunataks”), the rare appearance of coherent thematic development in a beautiful solo (“La chute du géant”)—are good. But while shrouding the disconnection and the tameness at first blush, soon they make more evident how exasperatingly under-developed the whole is. These highlights themselves lose their sheen like gold dust in a pile of ash–not worth getting excited about, when you have to trawl through the rest to catch them. Let not the embed fool you: it’s possibly the best track.

Everything contained within Antipole is serviceable, but those stand-out elements prove that Norilsk are capable of much more than serviceable. Where they flirt with post (“Un chant pour les morts”) or a more energetic melodeath (“Locus Sanctus”) the music gains a hint of intrigue, but it loses it just as quickly because Norilsk don’t do anything with it, and settle back into comfortable, unremarkable death-doom. Some inconsistencies in the mix possibly contribute to the album’s problems. Harsh vocals sometimes fall back behind the guitars and percussion, meaning that when they would otherwise sound very good, with their resonant growls, they instead end up a little choked and feel non-committal. However, the spoken-word vocals usually appear right at the front of the mix, though they do not possess the requisite gravity for this prominence, and it makes them and the music accompanying them feel somehow flat. When the music is neither crushing enough to warrant a dense production—though at times it pretends to be—nor dynamic enough to justify a spacious one—though, again, attempts are made—the mix never feels just right; to my ears anyway. Perhaps Antipole has just driven me insane.

With apparent appreciation for Norilsk in the underground scene, and some stand-out moments—particularly on the front end—the true face of Antipole turned out to be an immense disappointment. There are approximately ten minutes of good death-doom hidden amidst the full 48, and whether or not this suffices to give Antipole your time is up to you. Maybe Norilsk have fallen from grace; maybe the fans were simply wrong all along.2

Rating: Disappointing
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Hypnotic Dirge
Websites: Bandcamp | Facebook
Releases Worldwide: February 6th, 2025

#20 #2025 #Antipole #CanadianMetal #DeathMetal #DeathDoomMetal #DoomMetal #Feb25 #HypnoticDirge #Norilsk #QuebecoisMetal #Review #Reviews

Choir – Smithe Thee Smoldering Providence [Things You Might Have Missed 2024]

By Dear Hollow

Bring them tired ashes to the black waters and sing an anthem for the famine! Smithe Thee Smoldering Providence is blasphemy, a molten and silt-laden horror that saturates every negative space with noise, desolation, and punishment. It dirges and roars like the gods that you thought were benevolent and merciful – their faces lurid and nauseating when you looked upon them. Hallelujah, you will go mad. You will embrace your fate with arms outstretched and feet running until you sink. You will vomit and rejoice at the coming of ruin. You will praise your master. Choir preaches to this manic truth and gospel of filth, recalling the memory of a ritual buried deep in a book of death-bathed dark. As you are baptized in the muddy river, buried with Christ, and raised to walk in newness of life, open your eyes and look below and you’ll notice the abyss of the dead and rotting staring back.

Choir is a one-man act from Singapore consisting of musician/producer The Choir, offering extreme metal dredged in obscurity and violence. At once blending the pulverizing weight of death/doom, the raw hatred of black metal, and the cavernous echoes of death metal, crammed to the brim with misanthropic dissonance, dense atmospherics, and vicious noise, the act can be compared to the likes of Impetuous Ritual, Infernal Coil, Menace Ruine, and Primitive Man, but with an interpretation of pain all its own. While 2021’s first full-length Songs for a Tarnished World introduced this noise, its follow-up Smithe Thee Smoldering Providence hones it, Choir’s sound achieves relentless devastation and palpable purpose. And it’s a damn shame it was released so late in 2024.

Smithe Thee Smoldering Providence consists of two twenty-two-minute songs, but the tracklist breaks them into three and four movements respectively – one of the few mercies you will receive listening to Choir’s relentless onslaught. Like 2024’s boundary-pushing Ingurgitating Oblivion, Choir combines the outer limits of extreme metal. However, contrary to the elegance, technicality, and grace of Ontology of Nought, Choir molds the festering and rotten loams of lumbering weight, blackened chaos, and ruthless dissonance into a lethal clay, encased in the thick grime of murk. Emerging like many-eyed and many-limbed creatures emerging from the muddy river, movements will sear themselves into your ears from out of nowhere, such as the Mitochondrion-esque chugging riffs (“Bring Them… I,” “Bring Them… III,” “And Sing… IV”), dizzying brain-bleeds and complete disintegrations into noise and dissonance (“And Sing… III”), full-on blackened assaults buried beneath the garbling Portal-esque weight of mud (“And Sing… I”), and ambient sprawls with a rotten hum and bilious distortion trembling beneath (“Bring Them… II”). Gorgeous synth melodies are sparse and stand in stark contrast during capitalizations of crescendos (“And Sing… IV”). While nonetheless bathed in the blood of distortion, they add a distinctly human feel that somehow makes the album much more punishing by contrast while also providing a jagged light at the end of Choir’s pitch-black tunnel.

Choir has accomplished an insane feat, creating an experience that balances haunting hypnotism, primitive ritualism, and cutthroat punishment in its misanthropic blend of extreme styles. Simultaneously a thunderously colossal and lumbering beast and a hateful specter with teeth of lightning, Smithe Thee Smoldering Providence is a portrayal of divine smelt, god silt, and blasphemous murk. Molten and filthy, hypnotic and punishing, Choir is an easy triumph for year-end lists had it been released earlier.

Tracks to Check Out: “Bring Them Tired Ashes to the Black Waters,” “And Sing an Anthem for the Famine”

#2024 #AmbientBlackMetal #AmbientNoise #BlackMetal #BlackenedDeathMetal #BlackenedDoomMetal #Choir #DeathMetal #DeathDoomMetal #DissonantBlackMetal #DissonantDeathMetal #ImpetuousRitual #InfernalCoil #IngurgitatingOblivion #MenaceRuine #Mitochondrion #Portal #PrimitiveMan #SingaporeanMetal #SmitheTheeSmolderingProvidence #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM

Pyre – Where Obscurity Sways Review

By Dear Hollow

Swedeath is one of those games I have zero skin in, but its close overlap with hardcore-influenced death metal and death ‘n roll makes that relationship complicated. Like I could not be bothered by Left Hand Path, but Wolverine Blues is a stalwart among my music collection; Bloodbath is regrettably not an act I return to regularly,1 but I consider Black Breath one of those rare successful intersections of grind, death metal, and death ‘n roll. My point is, I don’t know where the line is drawn between these styles but I know I like some of it and then can’t be fussed about the rest of it. With Pyre, the jury’s still out.

Where Obscurity Sways is the Saint Petersburg quartet Pyre’s third full-length, and it wavers between full-on Entombed worship and something resembling Fuming Mouth. Professing a frigidity more closely resembling black metal coursing throughout, Pyre offers chunky riffs, feral vocals, tense tremolo and chuggy shreds, and a bouncy sense of ubiquitous buzzsaw and passages of doomier tempos, alongside a wailing lead guitar whose rip-roaring solos are owed to multiple members’ contributions to the traditional heavy metal sister act Blazing Rust. Pyre throws the kitchen sink at us, blurring the lines between hardcore- and Swedeath-influenced death metal, boasting that black metal chill and no-holds-barred attitude – only for Where Obscurity Sways to go in one ear and out the other.

That’s not to say you won’t swing your fists and break your neck across Where Obscurity Sways. Big groovy meatheaded fun is front and center with Pyre, a monosyllabic approach that’s as effective as its moniker, despite its various experimentalisms. In the sweet spot that finds itself between chunky riffs, wailing leads, and punishing weight at the mercy of the shifting tempos (“Murderous Transcendence,” “Writhing Souls”), the album pumps adrenaline, utilizing sticky chugging riffs as both capitalization of crescendo and simmering burn. When black metal rears its despondent head (“Murderous Transcendence,” “Prognostic of the Apocalypse”), the sound is transported to a cold second-wave atmosphere that it aims for. Composition is precise and effective, as a smart use of shifting tempos and proper utility of punk beats lead to satisfying conclusions of both intensity and doom (“Where Obscurity Sways,” “Pestilential Fumes”). Barked and howled vocals, provided by bassist Dym Nox, land squarely in crusty territory throughout, although the isolated occurrence of death metal gutturals (“From the Stygian Depths”) is a welcome change of pace for Pyre.

Pyre’s monotonal vocals and inconsistent uses of tempos keeps it from achieving its true potential. The Russians run quite similarly into the same issues as Arizona’s deathgrind/death-doom band Thorn, in which the atmosphere and weight is communicated well enough, but nothing more breaks through the surface. Where Obscurity Sways is entirely inconsistent, Pyre’s tracks blur together in monotonous doom sprawls, but then utilize different tricks for each half of the album: the first half weaponizes wailing leads and ominous melodies, while the second dwells entirely in darkened tremolo. Each has its highlights (“Where Obscurity Sways,” “Pestilential Fumes”) and their droning sloggers (“Domains of the Nameless Rites,” “Chanting Ancient Incantations”). While the two instrumental pieces are decent enough to establish a semblance of atmosphere, their motifs are not utilized across the rest of the tracks for it to stick. In true crusty fashion, Pyre saturates its sound into a crusty, HM-2, Swedeath goo, so it’s easy to let the album at large settle into the background.

Apart from “Murderous Transcendence” and “Writhing Souls,” the whole of Where Obscurity Sways hangs out in relatively decent yet ultimately forgettable territory. Somehow Pyre makes the album seem too long even at a very reasonable thirty-six minutes, but when several songs blur together into a featureless expanse, it’s difficult to track. Some tracks are smartly composed, others painfully dull. Despite its attempt to blend Swedeath, hardcore, doom, and black metal, it keeps tripping itself up with inconsistent tempos and motifs. Utilizing more death vocals, sticky chugs, and black metal, Pyre will have a winning formula. As it stands, Where Obscurity Sways stays obscure.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Osmose Productions
Websites: pyredeathmetal.bandcamp.com | facebook.com/pyredeathmetal
Releases Worldwide: January 31st, 2025

#20 #2025 #BlackBreath #BlackMetal #BlazingRust #Bloodbath #DeathMetal #DeathDoomMetal #Entombed #FumingMouth #Hardcore #Jan25 #OsmoseProductions #Pyre #Review #Reviews #RussianMetal #Thorn #WhereObscuritySways

I would like this excellent fresh #DeathDoomMetal band from #Spain for this edition of #Saturdoom: Onirophagus. Their new record Revelations from the Void is an excellent way for me to discover this band.

The whole album is a demonstration of how to balance #deathMetal and #doomMetal without loosing focus, but the last song is a magnum opus, clocking in at almost 15 minutes. It truly descents to another level of reality when they add some voidgaze to the mix.

👥 Onirophagus
💿 Revelations from the Void

And if you want a single track;
🎶 Stargazing into the Void

https://album.link/i/1785107996

Faithxtractor – Loathing and the Noose Review

By Maddog

Faithxtractor’s second biggest musical contribution was the comment section from their last album. With a Farmers Only joke, a thread about metalcore album names, and a story that must be read to be believed, the birdbrain community’s mockery of Faithxtractor’s name has left me giggling for two years. Of course, the band’s biggest contribution was 2023’s Contempt for a Failed Dimension itself. Perhaps my favorite frill-free death metal record in recent memory, Faithxtractor’s fourth full-length dealt in riffs and also riffs. Unlike the other wannabes that litter the old-school death metal revival scene, Faithxtractor stood out through thoughtful songwriting. The album’s doom-tinged riffs were punchy, and its cohesive flow has withstood two years of wear. Ohio’s underground farmers are back with another slab of death metal. As I started spinning Loathing and the Noose, I knew what to expect.

At least, I thought I did. While Contempt for a Failed Dimension reveled in riffy simplicity, Loathing and the Noose is much more adventurous. Faithxtractor’s signature remains, with extra chunky riffs that alternate between furious death metal and Asphyxiating death-doom. However, while Contempt turned everything up to eleven, Loathing shatters the knob altogether. The most intense sections veer into blackened death-thrash, landing in between Morbid Saint and Panzer Division Marduk (“Fever Dream Litanies”). Even early Suffocation rears its head in Faithxtractor’s most bludgeoning brutal riffwork (“Flooded Tombs”). Spastic flailing guitar solos complement this unhinged assault on the senses. However, Faithxtractor ventures in the opposite direction as well. Loathing’s soaring leads and its melodeath-inflected riffs make it feel more melodic than Contempt. Meanwhile, the album’s starkest change lies in its bluer shade of doom. Faithxtractor’s melodic death-doom passages recall Swallow the Sun, displaying a newfound emotive side rather than merely adding heft. While Loathing and the Noose is far from an avant-garde record, it marks a sea change for Faithxtractor.

Miraculously, Faithxtractor’s experiments pay off. Even the most unexpected pieces are bafflingly powerful. Despite my knee-jerk skepticism, the melodic death-doom escapades are as evocative as the genre’s best (“Cerecloth Vision Veil”). Conversely, Loathing and the Noose’s speediest blackened cuts hijack my brain using frantic melodies and Marduk riffs (“Ethos Moribund”). These varied elements fit together with uncanny grace. The mid-section of opener “Noose of Being” mutates from blackened riffs to melodeath to sadboi death-doom to knuckle-dragging Autopsy worship, with fluid transitions that make each long jump feel like a natural step. Similarly, “Caveats” shines through its dynamic back-and-forth between an elegiac key melody and an enormous doom riff. While Faithxtractor’s round-trip transitions are sometimes abrupt, like the funeral-doom-and-back of “Flooded Tombs,” these are rare exceptions. Indeed, because it’s so well-crafted, Loathing and the Noose is an immediate hit despite its evolution; even the doomy seven-minute closer flies by, lodging into my memory by my second listen. Over-experimentation can be a turn-off, but Faithxtractor makes it work by whole-assing their every move.

Of course, it helps that the caveman segments slay. Even on its more adventurous tracks, Loathing’s overpowering death metal riffs are grin-inducing (“Cerecloth Vision Veil”). I have a soft spot for guitar solos paired with a dominant rhythm guitar, and Faithxtractor delivers on this with reckless abandon (“The Loathing”). If anything, Loathing and the Noose’s explosive tendencies make it a more visceral and infectious listen than its predecessor. And because the album’s climactic fury is sprinkled across each track rather than being sequestered, its 37 minutes are consistently lovable. While Loathing’s loud in-your-face master blunts its teeth, it remains a delight to revisit.

This is not the death metal album I was looking for. I showed up expecting a single-minded half-hour curbstomp. While Loathing and the Noose retains these simple roots, it does so much more. With influences ranging from blackened thrash to weepy death-doom, Faithxtractor’s newest record marks a transformation that initially left me worried. But its gargantuan death metal riffs, its smooth songwriting, and its excellence across its genre romps won me over. Contempt for a Failed Dimension was not just one of the greatest albums of 2023; it shocked me, revitalizing a subgenre that rarely rises above a 3.0. Loathing and the Noose sounds worlds apart, but checks the same elusive box. Mastermind Ash Thomas continues to understand my taste better than I do, releasing fantastic records in styles that often let me down. Keep an open mind and give this a shot.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Redefining Darkness Records
Websites: faithxtractor.bandcamp.com | facebook.com/Faithxtractor
Releases Worldwide: January 10th, 2025

#2025 #40 #AmericanMetal #Asphyx #Autopsy #BlackenedDeath #BlackenedDeathMetal #ContemptForAFailedDimension #DeathDoom #DeathMetal #DeathDoomMetal #Faithxtractor #Jan25 #LoathingAndTheNoose #Marduk #MelodicDeathDoom #MorbidSaint #RedefiningDarkness #RedefiningDarknessRecords #Review #Reviews #Suffocation #SwallowTheSun

Sonus Mortis – Collapse The Mountain
#Metal #SymphonicDeathMetal #Symphonicblackmetal #blackeneddeathdoom #darkmetal #deathdoommetal #ireland #irishmetal #melodicdeathmetal #metal #sonusmortis #symphonicdeathmetal #Dublin
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives)
https://sonusmortis.bandcamp.com/album/collapse-the-mountain

It is #Saturdoom again, the day where we spotlight the #doom genre until it hisses at the lights and draws back in to the shadows and gloom. Maybe we can draw it out again by sharing good music?

If you follow the hashtag you’ll find a good source of doom music of all kinds, from #psychedelic doom to #DeathDoomMetal. Everything goes.

Please feel free to share your own favourite tracks!

After a couple of listens, I can confidently say that Dan Lancaster fucked up so hard on Swallow The Sun's new album, Shining:

https://centurymedia.bandcamp.com/album/shining-24-bit-hd-audio

Almost every instrument, even the vocals have unnecessary effects on them. The drums, the vocals and the guitars sound artificial and overengineered. I didn't like the new sound profile at all.

#swallowthesun #metal #doommetal #deathdoommetal #shining

Mourning Beloveth, now this is some top quality Doom Metal from Ireland.

So, so, so. so good.

#deathdoommetal #doommetal #ireland

🤘 🇮🇪

#DenTagStarten

Heute mit #DeathDoomMetal

Katatonia - Burn The Remembrance

https://yt.artemislena.eu/watch?v=ARgx1Z47xuo

#deathmetal #thrashmetal #blackmetal #powermetal #doommetal #stonermetal #progmetal
#groovemetal #heavymetal #vikingmetal #warmetal #blackeneddeathmetal #deathnroll #melodicdeathmetal #symphonicmetal #deathdoommetal
#funeraldoommetal
#sludgemetal #folkmetal #paganmetal #glammetal
#gothicmetal #grindcore #deathcore
#deathgrind #goregrind #industrialmetal #postmetal #mathcore #dissonantdeathmetal #dissonantblackmetal #neoclassicalmetal
#speedmetal #crossovermetal #nwothm #nwobhm #djent #metalcore

From the beach, for @lpl's #SaturDoom:

#DoomVS: Oceans of Despair

https://song.link/k0wzqgtxgb8wb

#DeathDoomMetal

FFO #Arð #Intaglio #Krigsgrav

For #ThursDeath:

#MarcheFunèbre: After the Storm

https://song.link/wqfcchxvs6gkn

#DeathDoomMetal

FFO #Calliophis #EtMoriemur #MotherOfGraves

@WeirdProg

#CavernWomb: Stages of Infinity

https://album.link/i/1745039158

#DeathDoomMetal

Last month called my attention the track by Coffin Torture in the WEEDIAN 'TRIP TO SOUTH CAROLINA' compilation, so today for #BandcampFriday I got their record and the new Weedian compilation 😊

DISMAL PLANET from COFFIN TORTURE
https://coffintorture.bandcamp.com/album/dismal-planet

WEEDIAN TRIP TO MICHIGAN
https://weedian420.bandcamp.com/album/trip-to-michigan

#doommetal #sludgemetal #deathdoommetal #deathmetal

#TheMetalDogArticleList
#Loudwire
7 Best Death-Doom Albums of the Last 10 Years, by Fires In the Distance's Yegor Savonin
Let the doom consume you.

https://loudwire.com/best-death-doom-albums-last-10-years-fires-in-the-distance-yegor-savonin/

#DeathDoomMetal
#FiresInTheDistance
#YegorSavonin
#Last10Years
#BestDeathDoomAlbums
#MetalMusic
#Loudwire

Repost from my other account I manage PHLEBOTOMIZED :

You can vote for GPS now!
💪 www.kink.nl/voting
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#phlebotomized #lekkerman #czarciekopyto #hammerheart #dutchmetal #dutchmetalband #hammerheartrecords
#kinkdistortion #metalband #metalradio #deathdoommetal #metalmusic #deathdoom #sethabrikoos #sethpicturesmusic #KINKFM

🤘✌️